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A COLLECTION OF BEAUTIFUL DESIGNS 



Witi) Hesisionsi anb S>titci)e2! 



EDITED BY 



MAE Y. MAHAFFY 



PRICE, 25 CENTS 



PUBLISHED BY 

Cfje ^riscilla ^ublisfjing Companp 

85 BROAD STREET. BOSTON. MASS. 



Copyright, 1909, by The Priicilla Publishing Company, Boflon, Mass. 



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Fig. 17. Chinese Ce.n 



lECE. See Pace 9 for Directions and Details 



© SEP / 1909 
SEP 10 1909 



a- 



c Stitches for Drawn Work 



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Plain Hemstitch 



HE term, "drawn thread work," may with 
propriety be applied to any and all kinds 
"^i -*- of needlework which necessitates the removal 
oLcertain warp or woof threads, or both, or the draw- 
ing aside of certain threads to form open spaces. 

Adaptability. — Of almost unlimited possibili- 
ties, being suited alike to the embellishment of altar 
and household linens, fancy articles in general, and 

toilet accessories, drawn-work may worthily claim the honor of being one of the most practical 
modes of ornamenting plain surfaces. 

Materials. — To be both beautiful and durable, drawn-work must be carefully made of materials 
fitted to the usage it is to receive. Any material from which threads may be withdrawn is possible, 
but certain fabrics are more readily adapted to the work than others. Linen fabrics are superior to 

cotton or silk because of greater utility, easier manip- 
ulation, and less strain to the eyes. Canvas and 
scrim are good for curtains and sofa-pillow covers ; 
linen crash is often used for scarfs and runners ; fine 
linen lawns, cambrics, and the like, answer for hand- 
kerchiefs, collar and cuff sets, waists, baby caps, and 
similar pieces ; but for the majority of household 
articles many of the numerous linens on the market 
will be found most satisfactory. Select a fabric 
having a minimum amount of dressing or stiffening, 
as its presence increases the work of drawing threads. 
This part of the work is sometimes accelerated by 
washing the material first, or by rubbing the threads 
to be drawn with soap. 

Working Threads. — For the needlework, use 
cotton, linen, or silk floss or thread, according to 
the background te.xtile, the usage to be made of the 
article, and the design or pattern followed. Finer threads are used for hemstitching, grouping, 
or clustering threads, binding, etc., than for the ornamental stitches. All white is favored for 
washable articles, but colors may be used, if liked, the reds and blues so prevalent in Europe, 
and the Oriental colorings being given preference. 




Fig. 2. Double Hemstitch 




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Fig. 3. Serpentine Hemstitch 



Tools. — Sharp scissors are essential for clipping 
drawn threads, which may be loosened by a strong 
pin. Needles with sharp points are needed for such 
stitches as are taken into the background fabric, but 
blunt needles are best for weaving, as they are less 
liable to pierce the threads. A magnifying or reading 
glass will be of aid in copying intricate designs. 

Drawing Threads. — In a straight border draw 
threads lengthwise for width desired. If the drawn 
strip is shorter than the material, buttonhole or over- 
cast the ends and clip drawn threads close. When 
a corner is to be turned, the material must be cut at 
right angles where side borders unite, ^Jid.. jjiese^raw 
edges buttonholed or overcast. The varp and woof y 



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Fig. 5. Filling Tiiki ads and Spokes 

One corner wise spoke doubled by twisting back 



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threads are not always of equal size, so it is best 
to measure the spaces rather than count tlireads. 
After measuring the distance, draw one thread at 
eitlier side to serve as boundary lines. In but- 
tonholing unstamped borders, this same plan is 
helpful. Do not draw extremely large spaces, as 
the threads are in danger of becoming puckered 
or broken before the finishing stitches are placed. 
Draw one section at a time and complete before 
proceeding to the next. 

Circular and other oddly shaped bands may 
be followed by marking the shapes carefully on 
both sides. Draw threads to each outline and 
cut free. 

Edges. — The edges, if buttonholed or hem- 
stitched, should be attended to before any fancy 
border threads are drawn. Sometimes, however, 
fringe is used as a finish. In such cases draw a few threads to outline the head of the fringe ; 
buttonhole, hemstitch, or overcast same, leaving the remainder undrawn until all other work is 
completed, after which proceed with the raveling, and knot the 
fringe as desired. A fringe of double weight may be had by 
hemming the depth of fringe wanted, splitting bottom of hem, and 
raveling both portions. Blanket-stitch, buttonholing in plain 
and battlement form, cross-stitch, herring-boning, feather-stitch, 
and similar fancy outlines are all used along edges of drawn- 
work bands to add to the elaboration. 

Methods of Mounting Work. — Hoops or frames are 
needed to hold work taut for knotting and filling smoothly after 
threads are drawn out. Fine fabrics may be basted firmly to 
stiff paper, leather, or oilcloth. 

Figure i. Plain Hemstitching. — Hemstitching, the sim- 
plest form of drawn-work, may be used as a hem finish, or a decora- 
tion, and appears in Fig. i. In the latter case a few threads are 
drawn at the desired point, but when finishing a hem turn and baste 

same, and draw three 

or four threads just at the hem's edge. Fasten working 
thread in hem and hold in a loop with left thumb. Pass 
needle under from three to five of the fabric threads and 
bring out through loop, which is then pulled up snugly and 
held in place by a single slanting stitch taken into the 
various layers of the hem. 

Figure 2. Double Hemstitching. — Double or lad- 
der hemstitching, shown at Fig. 2, is merely hemstitching 
the identical threads on both sides of a drawn space. 

Figure 3. Serpentine Hemstitching. — Serpentine 
hemstitching is made like double hemstitching, except that 
along the second edge the groups are divided into two 
parts, the last half of the first being united with the first 

.Showing Natural Spread of ^alf of the second. 
Spokes in Weaving Figure 4. Drawn-work Knot. — The knot used 




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Fig. 6. Woven Wheel 

Woven on odd number of spokes and 
thread carried to corner to complete 




Fig. 




Fi(,. 8. Wi;a\i.ng anu Knotting 



throughout drawn-work is shown at Fig. 4. 
Throw working thread around in form of loop 
directly over threads to be clustered, and hold 
in place with left thumb. Run needle under 
group of threads, and bring it out in front of 
them through loop; remove thumb and draw 
thread down snugly to form a knot. These 
knots are used to group threads and to confine 
rows of weaving or darning, thus preserving 
accurate contours. 

Figure 5. Filling Threams and Spokes. 
— Working threads carried through the drawn 
space for the purpose of grouping or clustering 
linen threads are known as filling threads, and 
those across open squares as spokes. When 
large woven devices appear in straight border 
work, filling threads are made to answer for 
spokes, and are often referred to as such in 
describing the device. Figure 5 shows filling 
threads in a simple design, with same threads 

carried across open square to form spokes. Ordinarily additional spokes are placed from corner to 
corner in both directions. In some cases spokes are reinforced by coiling the thread back upon 
itself. One from outer to inner corner is shown thus in the cut. 

Figure 6. Weaving. — In weaving or darning devices the spokes are caught together at centre 
with a knot, and the pattern desired followed from this point. In plain webs or wheels, where an 
odd number of spokes is desirable in order that the weaving may alternate over and under in successive 
circles, it is customary to carry the last of the cornerwise threads or spokes only to the centre from 
one corner, and knot all with it at this point ; then proceed with the weaving, and when completed 
and directly opposite the starting point, slip needle through last row to hold Ihread, and carry it 
out to the unused corner, thus completing the spoke. (See Fig. 6 ) 

Fastening Threads. — Tlireads are run in and out of weaving invisibly to fasten tlieni, and 
may frequently be carried from one point to another in the same way, or by twisting them about 
spokes or filling threads previously laid. 

Figures 7, 8, 9. Woven Figure. — In Fig. 7 the natural spread of weaving over spokes 
united at centre is illustrated, the clover leaf requiring sixteen spokes. Figure 8 is a more 
elaborate pattern, over thirty-six spokes, and represents both knotting and weaving. Figure 9 
shows woven devices over filling threads, the laying of which also appears in the cut. 

Figures 10, 11. Oriental 
Drawn-work. — Figures 10 and 
1 1 show samples of so-called Orien- 
tal drawn-work. This name is 
more applicable when the Oriental 
colors are used for the weaving. 
The work is very durable, and in 
white makes a splendid finish for 
sheets, towels, etc. No filling 
threads are needed, the darning 
being placed over the groups of 
linen threads left after withdraw- 
ing threads in one direction only. 




Fig. 9. Wo\EN De\ices over Filling Threads 














Fig. 10. Oriental Drawn Work 



Figures 12, 13, 14, 15, 16. 
Drawn-work Backgrounds, — In 
work from Porto Rico and the 
Azores, as well as in some forms 
of Russian, a background is first 
formed, as in Fig 12, and the various 
patterns carried out on the same. 
For this background, draw from three 
to six threads, and leave the same 
number alternately both ways of the 
space. Then coil or bind the undrawn threads with fine, strong thread, wrapping it about each 
group of threads twice, both vertically and horizontally, and running it under each intersecting 
block of linen. Tiie pattern itself is then followed by counting open squares, and is made up of 
small straight or twisted crosses, single or solid darning, such as are illustrated in Fig. 13. 

The native work from the Azores 
usually shows only solid darning ; West 
Indian work, both darning and crosses, 
but chiefly the latter; while Russian 
work incorporates all of these, and 
sometimes rings of weaving similar to 
those shown in Fig. 14. Bead-work, 
cross-stitch, and filet net patterns are 
readily followed in these stitches. 
Japanese and Chinese workers use the 
twisted cross a great deal on such even- 
meshed backgrounds for allover effects 
in medallions, etc., but usually leave 
the threads unbound. 

The backgrounS-stitcli at Fig. 12 is 
sometimes varied by carrying the thread over the linen blocks from different directions to form 
crosses. At other times the threads are bound closely, forming the cord-like background usually 
seen in German or mediaeval drawn-work, as shown on page 38. 

In Fig. 14 an equal numlier of threads are drawn and left in both directions. Two forms of 

rings or circles appear. In one the thread is carried 
over opposite sides and under the two remaining in each 
instance. In the larger rings the weaving is done alter- 
nately over and under, it being necessary to run under 
two groups at intervals in order to cause the rows to 
alternate. The binding consists of carrying the thread 
once around each group between blocks in passing from 
one ring to the next. 

Figures 15, 16. Allover Effects. — Figure 15 
shows an easily made allover or groundwork of even 
spaces. 'J'he thread is carried under the linen threads, 
over the intersecting blocks, from first one direction and 
then the opposite, so that crosses are formed on the 
blocks. These are caught in place with a short stitch 
over the centre. Between blocks another thread is car- 
ried about the linen threads four or five times to make 
solid-looking squares. 

6 




Fig. II. Okie.ntal Drawn Work 




Fig. 12. Allover Background 




Fig. 13. Allo\er Background with Fillings 



Figure 16 illustrates another allover, 
eight threads being left and drawn each 
way. By backstitching over every four 
threads around each linen block the linen 
threads seem to be divided a.s by hem- 
stitching. In alternate blocks different 
groups of four are used. If preferred, an 
agreeable change is made in this pattern 
by backstitching over the same threads 
on opposite sides of the square, thus bal- 
ancing the design evenly. Then, begin- 
ning at one corner, fasten the thread 
securely and carry it diagonally across 
the open space, knotting it to the corner 
of the linen square, and proceed over or 
under the square, as desired, to the cor- 
ner diagonally opposite. Again knot the 
working thread and proceed across the 
open space the width of the work, and so on. The same process is next followed from exactly 
opposite corners, so that all tlie open squares are crossed from both directions, as well as the solid 
blocks. In crossing with the last thread knot about the former one in the centre of the space to 
hold the crossing firmly in the centre. If added ornamentation is desired, weave a little wheel 
or some small figure on these threads. If the threads have been carried over the right side of the 
solid blocks, they may be held in place at the centre by a single stitch crossing over the threads, 
or by an ordinary embroidered cross-stitch ; or, a small woven design may be substituted. When 
the threads run under the linen it may be left plain or be decorated with a small disk, diamond, or 
other figure in solid embroidery. The variations for a majority of designs are many, and interested 
workers will need but few suggestions on this score before being able to plan and carry out numerous 
patterns, the illustration of which is impossible here because of limited space. 

The several varieties of stitches shown in Fig. 13 may all be used with the unbound background, 
as well as the bound, although binding usually adds 
to the attractiveness as well as the utility of the 
work. A small section in this illustration is left 
unbound. The same stitches may also be carried 
out in spaces wherein more threads are drawn than 
are left intact equally as well as in evenly spaced 
patterns. 

Allovers of fine materials and small patterns are 
often used for large initials or monograms, the edges 
or outlines of the letters being overcast neatly before 
drawing the threads The same designs may be 
used in oval, square, circular, or fancifully shaped 
medallions, with initials worked solid in the centre. 
In either case overcasting finishes the drawn space. 
Such medallions are also good for trimming waists, 
lingerie, and the like, the initial giving way to some 
woven design, or some figure carried out in the 
twisted cross-stitch. The centres of flowers, and 
sometimes portions of the flower petals, or half of 
each leaf form, or parts of figures used in conventional Fig. 14- Background Woven with Rings 





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Allovek Design in \Vea\ ing 



designs, are all frequently filled with 
fine allover drawn-work designs, while 
the remainder of the work is in solid 
embroidery, the results being extremely 
graceful and dainty 

Scalloped Edges. — Scalloped edges 
are readily formed of drawn-work designs, 
particularly those in allover effects like 
Figs. 15 and 16. This part of the work 
must be planned or laid out before the 
filling stitches are placed. The threads 
are not only drawn for the width of the 
band desired, but to include the scallops 
of such depth as is practical. For in- 
stance, in Fig. 16 each scallop might be 
made to include four of the linen blocks 
and one of the open squares, forming in 
reality a series of bo.x-like tabs. Or, the 
scallops may be graduated, battlement 
fasliion, that part adjoining the band 
proper including three or four solid 
blocks, and the outer point of the tab one 
or two. In doing such work outline the tabs or scallops by running a thread along their outer 
edges, taking a stitch or two at each side of the solid blocks to preserve an accurate contour, and 
carrying tiie thread along the sides of the open spaces with the undrawn fabric threads. Ratlier 
coarse threads should be used for this purpose, or more than one row placed. Overcast or button- 
hole closely directly over these outlines. When the filling threads have all been placed in the drawn 
spaces the superfiuous linen is cut away outside the scallops. If the buttonholing or overcasting is 
carefully and closely wrought edges of this kind will stand a surprising amount of wear. The 
threads used for filling maybe fastened in the 
overcasting or buttonhole stitches. 

Laundering Drawn-work. — Drawn-work 
that has been properly stretched before com- 
mencing to place the decorative stitches, and 
that is wrought throughout with care, will give 
little trouble when laundering is necessary. 
However, some fabrics will shrink more than 
others, and if the worker anticipates any 
trouble of this nature, she should shrink the 
material before beginning work. There will 
then be little likelihood that the work will 
become ill-shaped in the hands of the laun- 
dress if it is given an ordinary amount of care 
It should be ironed on the wrong side, over a 
padded board, so that every woven figure will 
stand out clearly from the background work. 
Some owners of elaborately wrought drawn- 
•Work pieces prefer to clean them while stretched 
in frames, this method, with due care, usu- 
ally giving very satisfactory results. 




Fig. 16. Allover Design in Weaving 



Lesson for Chinese Centrepiece, Fig. 17, Page 2, and 
Figs. 18—24 



THIS exquisite half-yard squareof Chi- 
nese linen is full of possibilities to 
drawn-thread workers, showing, as it 
does, such variety of design. The outer 
border, Fig. i8, is one and one-quarter 
inches wide, including herring-bone work at 
either side of main design. A fewthreads are 
left at edges of wide space, and then two 
or three drawn, as for hemstitching. Back 
and forth over the narrow linen strips her- 
rinjr-bone stitches are carried, dividing cross 
threads into twelve clusters to the inch. 
At corners hemstitching in narrow portion 
takes the place of herring-bone work. 







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Fig. 18. Detail of Centrepiece, Fig. 17, Page 2 



Every eight clusters are grouped by a central thread, or a less number if they do not come out 
even at corners. Three serpentine threads at either side cross diagonally between groups. Outer ones 
separate groups into their individual clusters; central, the same; while inner threads knot clusters 
into three groups. Small woven rosettes or wheels alternate with little bows between groups. The 
large sections of bows are woven over four threads each, and smaller ones over three. 

Crosses on thirty-two spokes fill the corner squares. Eight spokes are allowed for each arm, 
and outer spokes are gradually left out until but two remain. 

Three-fourths of an inch from the outer border threads are drawn for the nine-inch centre. 
Three open spaces alternate with two of linen in both directions, the former being two inches wide, 
and the latter one and one-half inches. Diagonal threads are carried across from opposite directions, 
catching at opposite corners of linen blocks with the usual knot-stitch, going over linen blocks and 
across open squares. Additional spokes are placed over linen blocks (superfluous stitches running 
along edge on wrong side), making thirty-two in all, and the device used in open corners of border 
placed thereon. (See Fig. 19.) 

Figure 20 shows the manner 
of filling two corner squares, and 
work between squares, wJiich is 
alike throughout. Carry a central 
thread across open square and 



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Fig. 20. Detail of Centrepiece, Fig. 17, Page 2 
9 




Fig. 21. Detail of Centrepiece, Fig. 17, Page 2 



knot linen threads in two groups before passing 
to next square. Eight serpentine threads on 
either side of centre cross open square diag- 
onally, knot to clusters of first group, cross 
between first and second groups, knot to second 
and cross square, etc. The two outer threads 
at either side knot groups into nine clusters 
each, half of one cluster being joined with 
adjoining half of next in second row. The 
number of clusters gradually diminish until 
three only remain next to central thread, ser- 
pentine effect being retained in each row. 

Between groups bows are placed, five 
spokes being allowed for each short section, 
and twelve for the others, weaving under and 
over a pair each time in the long sections, 
and graduating all. 

Knot all spokes in centre for fanciful 
wheel shown in corner ; divide into eight 
parts, and weave round a time or two, going 
Now knot each part, coiling thread two or 



under and over each part rather than single spokes. 

three times, and a quarter of an inch beyond knot a circle to each spoke. 

Follow this by another, and weave twelve rows in four sections. On two sections which form 
one-half of wheel, if divided by a diagonal line through centre, carry weaving out one-third of an inch 
on three spokes at outside edges, and connect these two points by six rows of weaving, knotting 
outer rows to spokes to keep weaving in position. 

At division of the two sections weave out a quarter of an inch on each from the twelve rows of 
weaving, utilizing three spokes each. Now weave toward opposite side of section about eight times, 
knotting outer rows as before. Remaining half of wheel is made in same way, and six outer rows 
of weaving surround the whole. The centre of Fig. 2 1 is made like the wheel just described. 
Spokes are divided in fourths, and two sections 
of weaving placed on each, graduating from 
centre, with little woven crosses on four central 
threads, the main part being on two with arms 
reaching out over adjoining spoke at either side. 
Two rows a quarter of an inch apart, knotted 
to each spoke, follow. Between these thread is 
carried back and forth, looping about inner row- 
between spokes, and going under each spoke 
just outside of last row. 

The two remaining corner squares are filled 
as in Fig. 22. Centre is made as before, but the 
weaving is in seven sections, each narrowing to 
a point, and with crosses between, as in Fig. 21. 

Figure 23 has nine smaller points around 
a similar centre. Beyond these nine others are 
woven, each on half the spokes from two devices 
in former row. These are larger than the first, 
owing to the natural spread of the spokes. 
Interlaced rows complete the design. 




Fig. 22. 
10 



Detail of Centrepiece, Fig. 17, Page 2 




Fig. 23. Detail of Centrepiece, Fig. 17, Page 2 



Nine groups are made in the centre of Fig. 
24, and eight sections of weaving are gradu- 
ated on one edge only for star points. The 
interlaced border also surrounds this design. 
To the average American worker there is 
an intricacy about these devices which tends 
to discourage attempts to copy them, but 
this arises only from a misunderstanding. 
Every drawn-thread worker knows how to lay 
threads and something of weaving-in devices, 
and can follow the patterns made up of 
many details just as readily as those of but 
a few after a little practice. The work is 
done step by step, and when one step is cov- 
ered the way opens naturally for the next, so 
that discouragement should be entirely elim- 
inated from the drawn-thread worker's curric- 
ulum. Complicated patterns simply require 
a little more time and a little more patient 
endeavor, both being amply repaid in the end 
by the pride and satisfaction arising from the knowledge that one's ability is equal to any emergency. 
One of the most important requirements in turning out work of such elaborate design as this 
Chinese piece is to have the linen properly framed or stretched in the beginning, as large open 
spaces are more liable to cause sagging or too tightly drawn filling spokes. Later, in laundering 
the piece, more care must be exercised than is needful for simple border designs. It will be safest 
to frame the work before washing it, after the manner described under the head of " Laundering 
Drawn Work," page 8. The results will be far more satisfactory than those attained by following 
the customary mode of washing and ironing, and there will be less danger of breaking threads, either 
in the process of washing or by catching them with the point of the iron during this part of the work. 
Such varied and attractive designs as appear in this Chinese work offer many interesting oppor- 
tunities to drawn-thread workers, and are well 
worthy a careful study from different view- 
points. Either band will provide ample orna- 
mentation for numerous articles used singly. 
They are also well suited to colored drawn- 
work on heavy fabrics. Utilized in the form 
of the square under discussion, but without the 
hem, suitable colors being chosen, and a pretty 
lining placed beneath, a handsome sofa pillow 
will result, one which any worker will be proud 
of, and which with care will require only an 
occasional dry cleaning. 

The method followed in ornamenting the 
linen blocks also suggests insets for waists and 
underwear, which might be surrounded by 
double hemstitching or narrow insertion to 
good advantage, while any of the wheel devices 
in this centrepiece provide the workers of Ten- 
eriffe or Brazilian Point lace with splendid pos- 
sibilities, as they are well adapted to this work. Fig. 24. Detail of Centrepiece, Fig. 17, Page 2 




II 



Lesson for Doily, Fig. 25 



THE centre of this doily is five inches square. Draw threads for three-fourths of an incii, 
leaving one-half-inch spaces between. Run one filling thread through the centre of each 
open space, both vertically and horizontally, dividing linen threads into two groups. On 
either side place three additional threads at equal distances apart, crossing these diagonally in the 
squares, and knotting linen threads as shown. Diagonal threads are then run across from both 
directions, being secured in centre of linen blocks ; all threads in squares are knotted together at 
centre. Each fan is woven on four threads. Weave one-fourth of an inch on the four spokes, then 
on the two central ones for one-fourth of that distance. Two spokes each from adjoining fans are 
then united by four small blocks. In remaining squares knot two rows one-fourth of an inch apart. 
On last of these place sixteen scallops, weaving over circle, two spokes and circle again for each. 






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Pig. 25. DoiLV in Me.xican Drawn Work 

12 



Lesson for Border, Figs. 26, 27 



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Half Width of Border, Fig. 27, on Large Scale 

shown in Fig. 27 also makes a pretty border. In medium weight linen the edges are hemstitched 
into twelve clusters to the inch, the working detail. Fig. 26, being coarser. Start first thread about 
a quarter of an inch from upper edge, using thread a little heavier than that drawn out of linen. 
Knot about first cluster and buttonhole on it toward same edge for half the distance. Knot about 
three succeeding clusters singly, buttonholing down on last the same distance and knotting across 
three following. Repeat this across space. 

The second thread is knotted to first cluster a short distance below buttonholing, carried to 
second cluster, and buttonholed on same toward edge, uniting with third cluster just below previous 
row, and buttonholing back on same. It is then knotted singly to five succeeding clusters, button- 
holing up again on last, and so on. 

The third thread is placed like second, except the buttonhole bars run down and then up, 
instead of up and then down, making diamond-shaped openings. The fourth thread is like first, 
except as to direction of buttonholing, which follows third. This method is continued throughout 
entire border, the sections repeating alternately. At the edges the two clusters running from centre 
of each mesh-like block are buttonholed to correspond with diamonds, the buttonholing being carried 
right to the hemstitched edges. If the threads of the material used are sufficiently coarse to allow 
one to divide them into even clusters without preliminary hemstitching, the hemstitching may be 
left until the last and wrought as a continuation of these half diamonds along the edges. 




Fig. 27. Border. See Enlarged Detail, Fig. 26 
13 



Lesson for Centrepiece, Figs. 28, 29, 30 

THIS fifteen-inch square is finished with one-inch hemstitched hem. The outer border is 
one-half inch from hem, and is one-quarter inch wide. The inner border is same width, and 
linen threads for the same distance are left between these and wide border. The work is 
done on wrong side. The edges of narrow bands are hemstitched into fourteen parallel clusters to 
the inch, which are then grouped in alternate pairs, the thread being carried zigzag fashion from 
one group to the next. The corner squares, buttonholed on raw edges, are crossed with three 
threads from both directions, upon which small crosses are woven. 

Hemstitch wide band (Figs. 29, 30) into twelve parallel clusters to the inch. Beginning at 
centre of one side of corner square, carry thread across and knot together ten clusters, wrapping 




Fig. 2S. Centrepiece in Mexican Drawn Work. See Details, Figs. 29, 30 

14 









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KiG. 29. 



Way of Laving Threads for Border Before 
Beginning Weaving. See Fig. 30 



thread about group several times to 
increase strength. Next group eight 
clusters, and alternate thus across 
space. At either side of centre thread 
place two others, crossing in corner 
square, dividing group of ten clusters 
into two, and crossing diagonally 
over group of eight clusters without 
knotting. The two threads adjoining 
on either side divide the two groups 
into three, taking a portion from each 
to make central group, and crossing 
over group of eight clusters as before. 
The third thread on either side of 
centre separates the three groups into 
four, again drawing upon outer, heav- 
ier clusters for sufficient threads ; the 
fourth thread into five groups ; the 
fifth into six, the outer one of each 
being one of the single original clus- 
ters, and the others pairs of clusters. All these threads cross diagonally over the groups of eight 
clusters, and upon them the devices are woven, as shown in Fig. 30. After being united at centre the 
weaving proceeds over threads at either side for about one-fourth of an inch, from which point the 
weaving narrows in four outward turning divisions. For the corner (Fig. 30) fifty-two spokes are nec- 
essary. Weave a solid centre one-half inch across. Divide spokes into four corner sections, omitting 
central one at either side. Weave twelve rows separately on these groups. Divide each group into two 

parts and con- 
tinue weaving, 
gradually drop- 
ping threads on 
side near free 
central thread 
until one only 
is left on each 
division. These 
are then united 
near corner of 
square- (see Fig. 
30). Midway 
between these 
sections crosses 
are woven over 
central and two 
adjoining 
threads from 
either side, this 
feature appear- 
ing clearly in 
the illustration. 










Fig. 30. Detail of Fig. 28. Full Size. See Fig. 29 



Lesson for Porto Rican Pillow, Fig. 31 

FRONT and back of this brown crash pillow have one and one-half inch hemstitched hems, 
and are caught together through drawn space thus made. Three threads are drawn and 
three left in both directions, the row adjoining hemstitching being covered with cross-stitches 
which separate hemstitched clusters into parallel rows. The background is worked as shown in 
Fio'. 12, page 6. The design is darned into the background with soft white cotton floss, ten rows 
to a mesh. (See Fig. 13. page 7.) Many quaint designs of this character are to be found in old-time 
cross-stitch and bead-work books, a large majority of which are readily converted into desirable Porto 
Rican drawn- work patterns if the worker does not feel sufficient confidence in her own powers of orig- 
inating designs. They savor of old country patterns, being seen so frequently in the peasant work of 
Russia and Germany, and are a pleasing change from the usual floral designs of the present day. 
Any favored color scheme may be utilized for a pillow of this kind, washable fabrics having preference. 




Fig. 31. Pillow in Porto Rican Drawn Work 
16 



Lesson for Handkerchief, Fie;. 






THIS decoration forms a band 
with corner squares. The 
border is formed by drawing 
four threads and skipping four in both 
directions. Overcast edges with fine 
lace thread. Bind each row of linen 
threads, both horizontally and ver- 
tically, with the fine thread, as shown 
in Fig. 12, page 6. The ornamental 
border is formed of tiny twisted 
crosses, made by looping thread, as 
shown in Fig. 13, page 7. Each 
square necessary to complete design is 
filled in same way, counting the number 
in a given direction to insure accuracv. 



Border, Fu 



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Fig. 



Handkekciiief in Porto Kican Drawn Work 
Full Size 



FOR Porto Rican drawn-work firm 
materials of good wearing qual- 
ity must be used. This towel 
border. Fig. ^;^, is two and five-eighths 
inches wide, formed of damask hucka- 
back. Edges are iiemstitched and 

four threads drawn and left, alternately, in both directions. Cross-stitches are worked over row 
of linen threads nearest hemstitching on each side. Remaining threads are bound with fine linen 
thread, being coiled about groups twice between intersecting linen blocks, and running under 
these as reached. Sevent'een open squares are needed for tiie design, the little twisted crosses 
of which may be counted from the picture. These are merely loose buttonhole-stitches caught from 
side to side of the square, as shown in Fig. 13, page 7. 

This design could be fittingly used on fancy scarfs, squares, lied linen, or for trimming bands 
on waists, aprons, etc. Made of fine materials it will not work up so wide, but space may be 
gauged by number of squares needed. On the other hand, heavy fabrics will work up much wider, if 
the same nunilier of threads are withdrawn for each lilock. While Porto Rican work is usually all 
white, a unique and very handsome effect can be obtained by using this pattern on unbleached linen or 
cream scrim, carrying out the little crosses with colored floss in the regnlation pink and green rose shades. 






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Fig. };i. Boruer for Towel in Pokto Kica.n Drawn Work 

'7 



Lesson for Waist, Figs. 34, 35, 36 

DRAWN— WORK forms a highly satisfactory trimming for shirt-waists of linen or linen lawn, 
a very attractive design appearing at Fig. 34. An inch-wide strip of drawn-work extends 
from collar to waist at centre of front, while at either side two additional rows turn 

towards the sleeves a few inches below the neck, giving a yoke effect to the tucks above. 

The central and outer rows are like Fig. 36. Threads are drawn lengthwise, and cross threads 

hemstitched into fifteen parallel clusters to the inch. Open corner squares are buttonholed, and just 

below collar in central strip the cross threads are removed for a device like those used in corner 

squares, which necessitates buttonholing the edges at this point. 

A central thread unites every ten hemstitched clusters. A thread on either side of it knots 

alternategroups into 
three clusters, pass- 
ing obliquely over 
centre of groups be- 
tween. Outside of 
these two other 
threads separate the 
clusters into four, 
and then five, taking 
up the clusters alter- 
nately to produce a 
serpentine effect be- 
tween, and crossing 
over centre of re- 
maining groups as 
before. 

Onthesegroups 
wheels are woven in 
this fashion. Unite 
all threads at centre 
firmly. Knot a circle 
a short distance be- 
yond, takingclusters 
in pairs, but filling 
threads singly. Be- 
yond this place two 
other circles at 
equal distances. 
From outer circle to 

,. , each pair of clusters 

Fig. 34. Waist with Drawn Work. See tiGS. 35, 36 . , , 

and single filling 

thread forming the spokes weave a tiny scallop, going under and over the circle and the spoke. 

Between the two outer circles carry the thread from the spoke of one circle to the adjoining spoke 

of the next circle, coiling about them each time after the manner of herring-bone stitch. 

Additional threads must be placed across open squares to provide forty-eight spokes for each. 

"Unite these, and weave a solid centre. A short distance beyond knot a circle to each spoke singly. 

Six divisions are now woven over eight spokes each. Bars follow on two spokes each. Other bars 

on two spokes, one each from two of the first bars, surround these, and are in turn surrounded by 

shorter bars on the same spokes as the first. The final row of bars is made only on alternate pairs 

18 




of spokes. This gives the effect of pyramidal sections with quar- 
tets of bars between. In the band shown at Fig. 35, clusters are 
divided by a row knotted through centre, the work at either side 
being identical. Alternate groups of four clusters each are knotted 
serpentine-like through centre of each half. Six threads are used 
for filling each side, crossing obliquely through corner square, and 
going back and forth from side to side of space. Outer threads 
separate the groups into their four individual clusters; 
next into two groups; while remaining threads knot 
to each of the first and to the zigzag group tiirough 
centre in passing. 

The centre of the corner device in this design 
is made as in Fig. 36, but the six sections of weav- 
ing are carried out to a point by gradually leaving 
off the spokes at one side of each section. Tiny 
blocks of weaving follow on two spokes each, the 
last of one becoming the first of the next. 

Between the various rows single brier or feather 
stitch is wrought. The collar is formed of a row 




Fig. 35. Detail of Waist, Fig. 34. Full Size 



like Fig. 36, while the sleeves incorporate both patterns. If this does not give sufficient width to the 
collar both borders may be incorporated here, as elsewhere, with the feather-stitching as an outline. 
Tucks also enter into the make-up of the sleeves, and lace edging finishes the bottoms of sleeves and the 
top of collar. 

Either of these bands may be used for straight borders, or with the devices shown for filling cor- 
ners they will serve for squares or other shapes requiring such figures. Frequently where bands meet in 
the form of a right angle in this way the space is left intact, and threads drawn only to either side of 
it, because of the added strength thus acquired. The plain linen square is then ornamented with some 
embroidery device, diamonds, disks, and similar simple patterns being followed. In this instance a 
wreath of the feather-stitching, with perhaps an initial within it, would be especially suited to the re- 
mainder of the design if used for table linen. If narrow patterns are preferred the one at Fig. 3^ 
may be divided, only half the space being drawn. This gives a nice width for small articles, for chil- 
dren's clothes, aprons, and bed linen, and will wear better than the wider bands. 

It is sometimes possible to obtain 
woolen materials on the order of voile 
from which threads may be drawn with 
but little difficulty, and these make up 
pretty waists for winter wear when 
decorated after the manner of the one at 
Fig. 34, linings being used of the same 
shade as the outer fabric or of one 
which will harmonize with it. Silk floss 
should be used in work of this nature, 
and should be of the same shade as the 
waist material. Only the best brands of 
silk should be used, so that there will 
be no probability that the colors will 
run in cleaning, a lamentable calamity. 
indeed, after so much work. Work of 
this order in all black, over silk lining 
of that hue, is exceedingly effective. Fig. 36. Detail of Waist, Fig. 34. Full She 

19 




Lesson for Porto Rican Centrepiece, Figs. 37, 38, 39 

EXQUISITELY beautiful is this square with its interesting borders of Porto Rican drawn-work, 
the one measuring two and one-third inches and the other seven-eighths of an inch wide. 
The edge of the centrepiece is finished with a hem one inch in depth, hemstitched 
into place. For the outer border three threads are drawn and three left alternately in both 
directions, twenty-five open squares comprising the width besides the rows of hemstitching at each 
edo-e. Over the row of linen threads nearest the edges cross-stitches are wrought, dividing the 
hemstitched clusters into their original groups. The remaining linen threads intersecting the open 
squares are bound by coiling fine thread about them twice between linen blocks, carrying it under 
these blocks during this process. This part of the work is shown in Fig. 12, page 6. The inner 
border is prepared for the design in the same manner, but without hemstitching the edges, six rows 



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Fig. 37. Centkepiece i.n Porto Rican Drawn Work. .See Figs. 3S, 39 

20 



of open squares, and the two rows of clustered 
threads being utilized. Designs for both are 
shown full size at Figs. 38 and 39, and are 
formed of the small twisted crosses usually 
seen in Porto Rican work. These crosses are 
formed by looping the thread from side to side 
of the open blocks, a trifle heavier thread 
being used than the binding thread. It is 
necessary to count the number of these crosses 
in a row, after the manner of working cross- 
stitch embroidery. The reader will not find it 
difficult to follow either of these designs from 







Fig. 38. Detail of Fig. 37. Full Size 



the illustrations, in which the crosses are easily counted. It is best to always leave one open row 
without filling-stitches adjoining each edge, as this aids in throwing the design in relief and gives 
it greater distinction. 

The size of this square may readily be increased by allowing sufficient space for additional 
rose sprays. If one is not sure of one's ability to arrange the sprays in an enlarged space, one need 
only hemstitch and work on two sides of the square at first, these sides forming a right angle, leaving 
sufficient linen to make the borders as much longer than the square shown as is desirable. The 
border work may then be carried out as far as is necessary, and the hem finished before proceeding 
on the two remaining sides. This obviates any danger of having to fill in at the centre of each side 
to balance up the pattern, although this latter process is by no means a trying one to the worker of 
average experience. 

The rose sprays in the wide border are well adapted to other uses, and so also are the conven- 
tional blocks of the narrow border. This narrow border is especially fitted for heading the hems of 
aprons, collars and cuffs, towels, table-cloths, napkins, etc., where elaborate patterns would necessitate 
the expenditure of too much labor. In using such intricate designs as the rose spray, considerable 
work may be eliminated by dividing the border into oblong-shaped medallions or parts. Alternate 
a sufficient number of rows of openwork to accommodate one spray with a space of plain linen of 
equal or greater length, carrying the hemstitching along the edges of both. 




Fig. 39. Detail of Centrepiece, Fig. 37. Full Size 



21 



Lesson for Centrepiece, Figs. 40, 41, 42, 43, 44 

THIS handsome square with its wide hem, double or ladder hemstitched (see Fig. 2, page 3), 
has borders one and three-fourths inches, one and one-half inches, and three-fourths inch 
wide, with half-inch spaces between, all hemstitched into ten or twelve parallel clusters to 
the inch. A central thread groups every twelve clusters in widest border, Fig. 43. Three threads 
at either side cross diagonally over every other group at centre, and knot to clusters in alternate 
groups; those nearest centre separating clusters into two groups ; next, into three; and the outer 
ones into single and double clusters alternately. 

The groups over which threads cross at centre are surrounded by three circles at regular intervals 
to form wheels. First and second knot each crossing thread and every pair of clusters; third, each 
thread and cluster singly. Between second and third circles the thread is carried back and forth 



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Fig. 40. Centrepiece in Mexican Drawn Work. See Figs. 41, 4^, 43. 44 



\\>J 



Fig. 



in herring-bone stitch. From third circle to each crossing thread and 
every other cluster small scallops are woven. 

The corner squares require additional spokes from corner to corner. 
All are woven together at centre in solid circle. F.ight sec- 
tions on four spokes each are woven for a third of an inch 
beyond. Two spokes each from adjoining sections are then 
woven together for half that distance, and weaving finished 
off on central spokes. 

In the second border, Fig. 42, every twelve clusters are 
grouped, but without a thread running through centre. Four 
serpentine threads are used on either side of centre, crossing 
diagonally between groups, knotting to each other to form 
small diamonds in this space, and separating groups as 
follows: Near centre, two clusters; second thread, four; third, 
six ; and fourth, seven, the various 
threads dividing clusters alternately. 
In diamonds between groups the 
threads at right angles are used as 
foundation spokes for three-cornered 
bits of weaving. 

Two corner devices alternate in 
this border, both requiring additional 
spokes from corner to corner. The 
device in Fig. 42 consists of a solid 
woven centre one-third of an inch 
in diameter, with two outer cir- 
cles knotted singly to each spoke. 
Beyond these are four rows of 
blocks on two spokes each, the 
spokes alternating in each row. 

Figure 44 on page 24 has a smaller circle in 
centre with nine outbranching sections on four 
spokes each, followed by two rows of alternating 
blocks on two 
spokeseach. Be- 
yond every other 
pair of blocks 
others are 
placed, making 
these points 
three deep. 

The inner 
border. Fig. 41, 
has three filling 
threads at regu- 
lar intervals. 
The first is car- 
ried diagonally 
across open cor- 
ner square to Fig. 43. Detail of Fig. 40. Full Size 

23 






Detail of Fig. 40. I'Ull Size 




Fig. 42. Detail of Fig. 40. Full Size 




within two-fifths of widtli of border from outer edge, knotted to 
cluster and buttonholed on same half way to edge. It 
is then knotted to five following clusters, buttonholed on 
last toward centre again for length of previous buttonhol- 
ing, where it is knotted with adjoining cluster, the button- 
holing proceeding toward edge again on new cluster. Knot 
across five following, and repeat. The second thread is 
knotted to first and second clusters; buttonholing on sec- 
ond toward outer edge ; knotting to three following clus- 
ters, buttonholing toward centre on last ; knotting across 
three following clusters, and so on. The third thread is 
knotted near inner edge to first, second, and third clusters, 
buttonholing on last toward centre, knotting it with adjoin- 
ing cluster, and back toward edge again, across five fol- 
lowing clusters, etc. The corner device requires additional 
spokes from corner to corner, all woven in a solid centre. 

A short distance beyond another solid circle of weaving is placed, closely followed by a 
couple of rows in which the thread is coiled about each spoke before proceeding to the next. 




Fig. 



44- 



Detail of Fig. ^o. Fi'i.l Size 



Lesson for Handkerchief, Figs. 45, 46 



E 



XQUISITELV lovely is this handkerchief, with its filmy lacelike design, made up from the 
finest of handkerchief linen and lace or spool thread. It measures ten and one-half inches 
at the widest point, the linen centre being five and one-half inches across. Mark out this 
centre by measuring the corner blocks five-eighths of an inch square, graduating it to form three 

blocks between. Complete the centre 
by buttonholing all around in fine stitches, 
using the finest embroidery cotton, as it 
is usually more satisfactory for button- 
hole-work tiian lace or spool thread. 

Threads must now be drawn in both 
directions for the border so as to form 
open blocks of the same size as the points 
on the linen centre, except for five or six 
threads which are left between the blocks. 
The blocks should be outlined first, and 
are two deep at the narrowest part of the 
border, extending to the corners to pro- 
duce a square. The scallops are then 
laid out beyond the square, each of those 
along the sides being two blocks deep 
in centre and one on either side. The 
corner scallops are each one, two, one, 
two, and one block deep, counting from 
the outlined square, as shown in Fig. 45. 
After marking these all out correctly, 
buttonhole the edge neatly before draw- 
ing the threads. A line of running 
Fig. 45. Detail of Fig. 46. Full Size stitches placed on the outline, with the 




2+ 



buttonholing directly over them will increase the durability of the edge. The filling threads consist 
of one vertical and one horizontal thread through each block, and two diagonally from each corner, 
the latter being caught into the tiny linen blocks in passing, and the former knotted about intersecting 
groups of linen threads. Three circles at short intervals are now woven about each linen block to 
form wheels. These are knotted to the linen clusters and the filling threads as well in making the 
circuits. In the centre of each open square the diagonal threads are drawn apart slightly to form 
a small square opening. This is accomplished by weaving small three-cornered sections on three 
spokes each, the central spoke being one of the vertical or horizontal filling threads with one at either 
side from the diagonal pairs of filling threads. See detail, Fig. 45, showing the work in full size. 

This pattern is very desirable for straight borders and allover effects, and is suitable for 
heavier materials as well as the sheer fabrics. In linens of medium weight a few more threads may 
be left between the blocks, if preferred, working threads of corresponding weight being utilized. 




Fig. 46. Handkerchief in Me.xican Drawn Work. See Fig. 45 

25 



Lesson for Baby Cap, Figs. 47, 48, 49 

ATTRACTIVE baby caps are easily made by any drawn-thread worker, even though the 
patterns followed in the present instance may not be utihzed. This combination of de- 
signs is good, however. Use fine Hnen, making the main portion of the cap in the form 
of a strip cut to allow the use of a circular crown. This shape is a familiar one, and pat- 
terns for it are readily obtainable. The shape should be marked out on the linen before begin- 
ning work, so there will be no waste of labor. 

The designs used appear at Figs. 48, 49. the wide bands measuring three-fourths of an inch each, 
with linen strips between of half that width. These are in turn divided by narrow bands of 
single crossing. 

In making this design, fasten thread at one edge in centre of drawn space. Carry needle over 
sufficient threads to form two clusters, usually four or five to a cluster. Turn needle backward, point- 
ing toward starting point ; run it un- 
der second cluster and out over first; 
run down at this point and turn 
needle away from starting point 
again, bringing it up between second 
and third clusters. This twists the 
two clusters, each pair being treated 
thus in turn. 

The wide bands are each hem- 
stitched into thirteen clusters to the 
inch. The upper band in detail. Fig. 
49, shows every five of these knotted 
together by a central thread. Two 
threads on either side cross diagon- 
ally over alternate groups, two other 
threads on either side crossing: 
groups between. All of these threads 
knot clusters singly as they pass, the 
last ones placed knotting also to 
those previously laid. The last thread 
also is used to weave a solid disk 
around centre of every other group. 
In central band. Fig. 49, one- 
fourth of its width from one edge, 
the clusters are knotted in groups of 
fours. On opposite edge a similar 
row knots half of one group with 
half from next. Four threads are 
woven back and forth from side to 
side, knotting clusters singly, and to 
straight threads and groups near 
centre in passing. In lower band, 
Fig. 49, a central thread unites every 
five clusters. Two threads on either 
side knot clusters of alternate groups 
singly, and cross over centre of 




Fic. 4; 



Babv Cap i.\ Me.xican Dkaw.n Work 



26 




Fig. 4S. Crown of Cap, Fig. 47. Full Size 



groups between. A second central thread is 
coiled on first almost to group crossed by 
former filling threads, and is knotted to each 
of its clusters and threads to form a circle. The 
thread is then coiled about this circle, increasing 
its weight and durability, and then along the 
central thread again, across next group to third, 
where another circle is placed. A woven device 
takes the ])lace of every third circle, each divi- 
sion being woven over five side threads or five 
clusters, finishing off on three. 

The circular crown. Fig. 48, is made from 
a three-inch square of linen. Draw threads 
through centre at right angles, and work as in 
central band, crossing threads through open 
square. Unite these threads or spokes and weave 
round centre. Weave toward each corner on 
five spokes for an eighth of an inch. Weave 
oblongs at either side, utilizing one spoke each 
from adjoining sections and the free spoke be- 
tween. Now omit central spokes and complete weavmg over five corner spokes, finishing oft' on three. 
Place a row of single crossing outside wide band in corners of linen to give a pretty finish to 
these otherwise plain corners. 

In making up this cap sew the seams on the right side and then cover them with neat finishing 
braid. Turn outer edges back on the right side and 
cover them with the braid also. Some of the lace 
braids are well adapted to such work as this if a finish- 
ing braid sufficiently fine is not at hand. Edge each 
side of the braid surrounding the front, and the outer 
side of that around the back, with Valenciennes lace edg- 
ing, and ornament the top with many looped bows of 
narrow ribbon, having the ends knotted. The ties, 
which are of the linen, hemstitched and embellished with 
one of the drawn-work borders, are fastened to the cap 
under smaller bows of ribbon. It is always well to have 
several pairs of these ties, as they become soiled sooner 
than the cap proper. Either of the various designs may 
be used to decorate them. 

If used in cool weather caps of this kind should 
have a silk lining next to the drawn-work, with an- 
other of flannel beneath for warmth. The silk may be 
in some favorite color, if desired, with the bows of rib- 
bon to match. The crossing of the bands, as shown in 
the crown of this cap, suggests a unique method of dec- 
orating other articles. Corners of squares or oblongs 
may be treated thus, or the work may be utilized in all- 
over patterns. Any narrow or medium width border 
design may be followed, using the device pictured 
at Fig. 48 or similar ones for intersecting squares. 



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Fig. 49. Detail of Fig. 47. Full Size 



27 



Lesson for Centrepiece, Figs. 50, 51 

THIS handsome square is uniquely fashioned and exceedingly interesting in detail. The heni 
is placed, and a thread or two drawn inside as a guide for buttonholing a straight edge to 
outline the space to be ornamented. Along the buttonholing draw threads for two-thirds of an 
inch for outer row of drawn-work. Start to draw threads across this space, making open squares 
two-thirds of an inch wide with linen of half that width between. At corners and centres of each 
side draw only one square in width, but from one to another of these points gradually increase the 
blocks, two, three, four, five and six deep, thus giving a pointed effect to the plain linen, each point 
being as wide as one linen and one open square, with square blocks nearest edge the width of one 
open square and two linen blocks. Buttonhole around these points also, as in Fig. 51. 




^X *"-''! n-i U'^f'\ ■' '!#^ 'rnaf'TjC'l 

^ili^iU'5i.j d ^-^ y U'^^^''^^'W^ 



Fig. 50. Centrepiece in IMexic.\n Dr.^wn Work. See Fig. 51 

28 












1^ '^ll/[' ^-W 




A thread is carried straight through centre of open blocks, both vertically and horizontally, knot- 
ting linen threads between into four clusters. At either side of this thread two others cross obliquely 
through open squares from both directions, and knot to each cluster. Two figures alternate 
throughout in open spaces, one being the English wheel, made by weaving over spokes from 
centre outward, coiling the thread about each before proceeding to the next. (See Fig. 51.) 

The other device, simulating a clover leaf, is made by uniting spokes at centre, and weaving on 
two toward outer right-hand corner for stem. Six spokes each are left for the trefoil, the sections 
being woven separately, finishing off on four, then two, near edge. (See Fig. 51.) 

A row of buttonholing is now used to outline a centre square of linen five and one-third inches 
across, and from this threads are drawn for more of the needlework, one row deep only at corners, but 
increasing to four at centre of each side, the points being buttonholed, as before. This leaves a strip 
of plain linen between the outer and inner drawn-work. This linen might be further ornamented by 
some suitable embroidery design, if one cares to go to the additional troulile, althougli the elaborate 
openwork makes 
extra decorative ef- 
fects entirely un- 
necessary, as the 
plain linen has 
a special char ni 
when placed in con 
trast with such ex- 
quisite drawn-work. 
The centre of this 
square would also 
make an exceeding! \ 
attractive doily used 
alone, leaving the 
buttonholed points 
for the outside edge. 
The plainness of 
these points could 
then be relieved bv 
a shallow crochet 
scallop worked all 
the way round, or 
by placing some of 
the numerous lace 
stitches about the 

edge with an ordinary needle if one is not proficient in the use of the crochet needle. Doilies made 
on this order could be of any preferred size or of various sizes, and in conjunction with a large 
square would make up splendid luncheon sets. 

This same central device with several inches of plain linen left around the outer points could 
also be used to advantage as a pillow top. The work could be in all white or colors, a deep cream 
linen with the drawn-work done in old blue making a delightful combination. Several shades or 
colors could be combined in such patterns with effective results. In any event an initial or mono- 
gram should be worked over heavy padding in the centre of the plain linen square, either in white or 
the most prominent color used in the drawn-work. A distinctive touch may be given the joinings of 
front and back of the pillow top by buttonholing the two outer edges of both in points and uniting the 
tvi'O parts just back of these points by plain or fancy stitch work. 



rss 



Fir 



Detail of Centrepiece, Fig. 50. Full Size 



29 



Lesson for Waist, Figs. 52, 53 

HANDSOME, indeed, is this sheer linen waist embellished with drawn-thread work and eni- 
broiderv. The embroidery, of simple floral sprays, is in the well known French laid, or 
satin stitch, with tiny eyelets for the hearts of the florets, and is placed after the drawn- 
work is completed. 

The drawn-work is arranged in a decidedly miique fashion, which while requiring care in plan- 
ning is by no means impracticable. Find centre of waist front and from just above bust line draw 
a thread at either side or use a pencil to outline the 2yj-inch drawn space down front. From 
each upper corner outward and upward outline a square of same size, and from upper and outer 
corners of these outline others. Use care in withdrawing threads that none are pulled out beyond 
this outline. Draw four threads each way within these sections, leaving twenty between, thus giv- 
ing outlines for largest blocks. Allow three deep of these blocks on all sides, and two at corners 
for diamonds. Inside and outside these two rows of four threads each are drawn for every block, 
leaving three rows of undrawn threads each, thus utilizing entire twenty of each block, and con- 
verting linen into a network of solid blocks and open squares, which is whipped or bound after the 
manner of Porto Rican drawn-work, the thread passing over groups of threads between squares and 
under linen blocks. (See Fig. 53. and page 6, Fig, 12.) Alternate inner squares are filled with little 
twisted crosses, the thread being looped from side to side in a buttonhole-stitch, as shown on page 

7, Fig. 13. The outer 
and inner row of blocks 
forming diamonds are 
in the honeycomb pat- 
tern. The thread must 
be fastened at one cor- 
ner and brought up 
through a small hole 
in centre made by 
pushing a large needle 
or tiny stiletto through, 
separating, but not 
breaking the threads. 
The working thread is 
then knotted around a 
group of linen threads 
connecting blocks, 
pushed down back of 
square and up through 
central hole again. 
The next group is 
knotted in like manner, 
and so on around 
square, repeating this 
process for all the 
honeycomb squares. 

One- fourth of an 
inch from wide border, 
and conforming to its 

„ ,,, T- T^ ur CI7-, shape, threads are 

Fig. 52. Waist in Embroidery and Drawn Work, ^ee ric. j3 ^ 

30 










♦ »»♦•-»,•,♦., J 



drawn for one-third of an inch for narrow clover-leaf borders, as shown in Fig. 53. This drawn space 
is hemstitched into parallel clusters, every three of which are united by a central thread. Beginning 
at centre of one group weave out on three clusters toward edge. Carry thread down to centre of 
next group and weave out on it to same edge, and so on across. Weave toward opposite edge in same 
way, making sure that threads leading to centre correspond. On these threads and the one first 
placed through centre the central leaf of the trio is w-oven, the thread being fastened in edge of 
weaving and coiled on central thread to next group. The open corners made by the union of verti- 
cal and horizontal rows are buttonholed on raw edges, and spokes are thrown across from adjoining 
clusters, three for each of the five divisions of the flower. 

The collar and cuffs are made of half the design, a hem being turned down to the clover leaf 
border before hemstitch- 
ing and caught into place 
during this hemstitching 
process. This hem is 
turned to form corners, 
and the clover-leaf bor- 
der carried along the ends 
as well. The small open 
square formed at each 
corner is filled in with the 
same little five-petaled 
flower of weaving used at 
the intersections of the 
blocks in the waist front, 
and corresponds nicely 
with the flowers in the em- 
broidered sprays. The 
cuffs are used in turn-back 
fashion at the head of 
deep fitted cuffs of the 
linen ornamented with 
groups of tucks. The 
necessary fulness is given 
the waist front by a few 
tucks at the centre front. 
If desired the familiar 
Gibson fold may be added 
over the shoulder seams 
without interfering with 
the decorative features. 

Tucks should also be utilized at either side of the opening in the back to relieve the plainness, and 
may be interspersed with rows of the clover-leaf design, if desired. A skirt made with panels of this 
drawn-work, or with single squares like those across the bust used as medallions, would complete an 
elaborate and charming tub costume which any woman would he proud to own. 

The drawn-work pattern itself is equally pleasing when adapted to other uses than costume deco- 
ration, whether in conjunction with embroidery, or not. The border design is good for scarf ends, 
lunch cloths, etc., or for heavy work in colors on burlap, crash, and the like, for portieres, cur- 
tains, and pillow tops, while the squares may be used alternately with plain or embroidered linen 
squares, outlined with some small border like the clover-leaf pattern for similar purposes. 




Fig. 53. Dei.\il of W. 



Fl'll Size 



3« 



Lesson for Centrepiece, Figs. 54, 55, 56 

SHEER linen forms the background of this 25-inch square, and is finished with a hemstitched hem 
one and one-fourth inches deep. Half the hem's depth from its inner edge is a row of drawn- 
work shown full size at Fig. 55. After drawing lengthwise threads hemstitch cross threads 
into twenty parallel clusters to the inch, and buttonhole cut edges at each corner. Fine cotton or 
lace thread should be used for filling. Carry one thread across open corner square, and straight 
through centre, grouping three clusters ; knotting the next cluster alone ; the two following together, 
and then one again, repeating this process across the space. 

A thread is used an eighth of an inch from edge at either side, crossing diagonally through open 
corner squares, and knotting to two nearest clusters. It is then carried toward centre on last of 
these another eighth of an inch, knotted to same cluster and one in advance. Then follow on last 






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Fig. 54. Centrepiece in Imitation Filet Guipure. See Figs. 55. 56 

32 



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toward edge again, and knot same distance from edge 
as before. Knot singly to four following clusters, 
carrying thread toward centre on last and uniting with 
next cluster. Follow this last cluster toward edge and 
knot with adjoining one; then toward centre on this 
and unite with next, and back toward edge, proceed- 
ing as before across single clusters, etc. These side 
threads and the central thread thus unite alternate 
clusters, so that diamond-like spaces are formed be- 
tween. In open corners additional threads are carried 

across diagonally to provide twenty-four spokes in all. 

Fic. 55. Detail of Fig. 54. Full Size t~, ■.!..» j ' 1, r .1. 

1 hese are united at centre, and each arm of the cross 

woven over six spokes, then four and finishing on two central spokes. A similar border is placed 

inside the wide drawn-work design also. 

Figure 56 shows a portion of the wide border, full size. Allow five and one-fourth inches of linen 
between two narrow borders, which provides a narrow strip of linen at either side of irregular design. 
Through centre of this 5j4-'nch width draw threads for almost half an inch, it being necessary that open 
squares of this size alternate w^ith linen blocks of a little less than one-third of an inch in width. 
Measure one each of these squares from each corner along this drawn space, and from these points 
at either side mark a guiding line the width of one linen and one open square, and long enough to 
permit four open and three linen blocks. Again measure one each of these squares from corner of 
last row, and outline another section, its linen row including two blocks, and the open row, four. 
Duplicate this last in the final row, and carry out this plan at corners and centre of each side outward 
from central drawn space. Alternating with these graduated rows are others projecting inward 
from central drawn space, two on either side, laid out in same way. 

The entire design is buttonholed carefully and threads drawn in both directions as marked. Four 
filling threads at equal distances are now carried vertically through open squares, knotting the linen 
threads left between into three clusters, being secured in the buttonholing at each edge of work. 
Similar rows are placed horizontally, knotting clusters as before, and also knotting to each thread 
previously placed, converting each open square into a network of small squares. The darning 
pattern (see Fig. 56) 
runs across the drawn 
space, rather than 
lengthwise. This part 
of the work is very 
simple, the intricate 
feature resting en- 
tirely in correctly lay- 
ing out the drawn 
space. The three little 
blocks of weaving are 
arranged diagonally in 
alternate directions 
through the centres of 
the open squares, one to 
each net-like mesh. In 
working these the 
stitches must all be 
laid one way through- 
out the entire design. 







' JOBflk A £ mmm^Ai^^SSt 







FiG. 56. Detail of Fig. 54. Full Size 
33 



Lesson for Centrepiece, Figs. 57, 58, 59, 60 

THIS 16-inch square has three borders all hemstitched into nine parallel clusters to the inch. 
Two are alike and half an inch in width, as shown in Fig. 58. Knot clusters into groups 
of three by central thread. Carry threads from side to side, knotting clusters singly, and 
knotting to central thread in crossing diagonally. A second thread through centre coils about 
first and weaves tiny wheels between groups. Corners have two sections woven on two spokes each, 
with side sections on four spokes, finishing on two. 

The wide border, Fig. 60, has a central thread which crosses open corner square and groups 
every six clusters. Between this thread and corner of open square three other threads start at 
regular intervals, crossing diagonally toward clusters near one edge. The outer one knots clusters 
sino-lv, and also to central thread between first and second groups, and around in circular form to 









^1 




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; V*; v«; V»i 'A^^i •♦^>' 'A' * 'A" 5K 'A' \« 'A' \»i '^^ >.' 'A ■* '^^^^ 















Fig. 5;. CtMKEPiECE i.\ Mexican Dkawn Work. See Figs. 58, 59, 60 

34 






Fig. 58. Detail of Fig. 57. Full Size 



separate clusters on opposite edge of first group 
in like manner. Just inside a second row is knot- 
ted in same way. The third divides the group 
into four parts of two clusters each for the inner 
ones, and one on either side. 

Three threads to correspond with these am 
started at centre of first group, and knot second 
group in same circular figure, knotting to all filling 
threads passed and forming wheels at intersection 
of outer circle. Along second circle six or eight rows of weaving are placed. The centre of each 
consecutive group thus becomes the base or starting point for threads which form partial circles 
around following group, the threads being caught under the one previously placed through centre. 

The corner squares have their twenty-eight spokes united at centre. A quarter of an inch 
from this point a thread is knotted to each in a circle. Seven sections of four spokes each are woven 
together until near edge, when each is finished on on two spokes with blocks between on the spokes 
dropped, ^^'ithin borders, outline a square, as shown in Fig. ^y. and detail, Fig. 39, allowing open 
squares two-thirds of an inch across to alternate 
with linen blocks of half that amount. At cen- 
tre of either side mark an inner line one square 
from outer edge, the length of the square and 
linen block at either side. Graduate in from 
this, one open square and one linen each way, 
to provide pointed linen centre. Both edges must 
be buttonholed. One vertical and one horizon- 
tal filling thread are run through centre of each 
square (see Fig. 59) and two diagonal or ser- 
pentine-like threads cross these. Each filling 
thread separates linen threads between squares 
into three clusters. The device appearing at 

corners of the two narrow borders is woven in the open squares of this portion of the drawn-work 
also. 

This pattern is fine for allover effects, as the size of the squares may be increased or dimin- 
ished in accordance with the weight of the material used, and the purpose for which it is intended. 
If the linen blocks intersecting the open squares are of sufficient size they may be ornamented with 
tiny embroidered disks or wheels, this plan opening the way for a hint of color. Used just as in 
the illustration, but with a hem turned to 
meet the drawn-work edge, this scheme 
of arranging the needlework will make 
up pleasing small squares or doilies 
without the extra borders shown. 
Either of these outer borders is also 
well adapted for use as finishes for 
scarfs, towels and other household lin 
ens, as well as for ornamenting waists 
and dress accessories generally. The 
wide border worked in gold-colored 
thread on green linen, or in green and 
dull blue floss on a natural colored pon- 
gee background makes an ideal piano 
scarf or portiere border. 




UtT.KiL vt Fig, 



Full Size 







Fig. 60. Detail ok Fig. 



Full Size 



35 



Lesson for Fayal Doily, Figs. 6i, 62 

THIS ll-inch square of Fayal drawn-work is finished with an inch hem, ladder hemstitched 
and headed by a quarter of an inch of plain linen. Then comes the 2-inch border, a plain 
strip one-third of an inch wide, and a centre square three and one-half inches across. 
In planning work of this kind, ascertain number of meshes required for various darned or woven 
figures, after the manner of cross-stitch work and how many are found in an inch of background. 
The cuts make this an easy matter, showing eleven meshes to the inch, or eighty-nine lengthwise of 
the border, and twenty-one across on each side. Notice that the device between two stars nearest 
centre of each side is not so wide by one mesh as those between remaining stars, nor does the central 
row of this device show along outer edges at any point. The centre square has thirty-nine meshes 
each wav. 




Fig. 61. Doily in Fayal Dr.\wn Work. See Fig. 6j 
36 



Ordinarily in this work an equal number of threads 
are drawn and left, but in this instance three drawn and 
two left alternate in both directions throughout, all edges 
being buttonholed neatly. A working thread, strong but 
fine, binds all the threads in both directions, going over 
between the meshes and under intersecting points, pro- 
viding a net-like background. 

The distinctive feature of Fayal work is the one 
filling stitch followed, the weaving back and forth in 
meshes, four times, as a rule, though this must be gov- 
erned by size of thread and holes. In weaving in the 
design the meshes are counted, and as work progresses 
one row serves as a gauge for the next, and so on. In 
central square, if the centre mesh is found and the 
woven squares placed around it there will be no difficulty 
in carrying out remainder of design. 

The weaving must be run horizontally or vertically 
throughout; never a haphazard union of the two, if good 
thread was used for weaving in this instance, its creamy 
linen background. 



5*« •■■ •« M «•• • «*• 

/*«■-,■■■■ •■•_'■■»• ^;» «» 

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Fig. 62. Detail of Fig. 61. Full Size 

results are to be obtained. Unbleached linen 
tint giving a delightful contrast to the white 



Lesson for Combination Border, Fig. 63 

THIS combination border is attractive for aprons, sheets, pillow-slips, scarfs, etc. The two nar- 
row bands are each one-fourth of an inch broad, while the wide one measures three-fourths of 
an inch across, though all may be widened if desired. 
For narrow bands, draw all cross threads and hemstitch edges into twenty clusters to the inch, 
taking up same threads on both sides for each cluster. One-third of band's width from both edges 
knot clusters into pairs, and midway between these rows knot half of one pair with adjoining half 
of ne.xt. 

.\fter drawing cross threads in wide band, hemstitch edges into fourteen clusters to inch, with all 
clusters parallel. Beginning at edge and one side of work, buttonhole with fine thread over first cluster 




Fig. 63. Combination Borher 
37 



for one-sixth of an inch, and knot with second cluster; button- 
hole back half way to edge on second cluster: knot same, and 
also seven succeeding clusters, each singly. On last of these 
buttonhole toward centre of work same distance as on second 
cluster; knot singly; also three following clusters. Repeat as 
from second cluster, and go on thus across space, also placing 
similar row at opposite edge of space. 

On each side of band succeeding threads follow, knotting 
three clusters singly at edge, buttonholing toward edge on 
third and knotting ; then proceeding to knot five others instead 
of seven, before buttonholing toward centre. At this point 
the number of clusters knotted is increased by two instead of 
diminished, and thus on across. 

The three remaining threads at either side continue to 
increase and diminish the number of clusters knotted to com- 
plete the square meshed diamonds through centre with half- 
diamonds along each edge. Finish by buttonholing on the 
two clusters between the half-diamonds at each side. 




Fig. 64. Det.\il uf Fig. 65 



German Drawn Work, Figs. 64, 65 



ONE of the oldest forms of drawn-work is illustrated by 
name given it by many of the early workers, "Punto Ti 
mens it received in various countries, have given way in 
ica, to the simple title of "Mosaic drawn-work." It is, in fact, 
drawing part of the threads in both directions, and binding them 




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Fig. 65. Ger.m.a.n Dk.wvn Work. Medi.^ev.m. Style. See Fig. 64 

38 



this mediaeval design. The Italian 
rato," and the numerous other cogno- 
large measure, particularly in Amer- 
a background work, made by with- 
with the same or a different color, 
the design proper being left in- 
tact. Usually from three to six 
threads, owing to their size, are 
drawn, and the same number left, 
alternately, both vertically and 
horizontally. The working 
thread, which may be one of the 
strands drawn out of the mater- 
ial, or silk or cotton, is then used 
to overcast the threads remaining, 
coiling around the background 
threads which outline the open 
squares and passing under the 
intersecting linen blocks, as ap- 
pears in Fig. 64. The raw edges 
I if linen are overcast to corres- 
pond. Where single squares 
are needed they are cut the 
size of the drawn spaces and 
overcast. Patterns m ay be 
stamped on the linen as guides 
for drawing threads, and plain 
surfaces are frequently orna- 
mented with embroidery. 



Lesson lor Luncheon Cloth, Figs. 66^ 68, 69 

THE 1'2-inch hem of this luncheon cloth is basted up to a drawn space one-third of an inch in 
width, which is then hemstitched into twelve clusters to the inch, the hem being caught into 
place as this work progresses. These clusters are knotted through the centre into groups of 
three clusters each, as shown in Fig. 68. A thread on either side, serpentine fashion, knots the clusters 
singly, and the last one of these threads also connects the first to the central thread midway between 
clusters. In the open corner squares English wheels are woven. These are made by coiling or back- 
stitching over each spoke before proceeding to the next. Quarter-inch widths of the plain linen are 
left between borders, the narrow borders being alike with the exception of the corner devices. In 
the central one this is a trefoil, as shown in Fig. 69, each section being woven on four threads at first, 
and then finished ofT on two, an English wlieel appearing in the inner as well as the outer border. 





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Fiu. 66. Luncheon Cloth in Me.xican Drawn Work. See Figs. 68, 69 

39 









Fig. 67. Pattern fok Border and Corner 



The wide borders are one and a half 
inches across, and are hemstitched into 
ten or twelve clusters to the inch. In the 
outer border, Fig. 69, a central thread 
unites one group of six clusters and two of 
seven alternately, being bound securely 
around each cluster. The four threads on 
cither side are knotted singly to the groups 
oi seven, crossing diagonally between. 
They also cross diagonally over centre of 
groups of six threads, thus providing foun- 
dation spokes for the woven figures. These 
woven figures are made up of four and six 
divisions, with one only composed of ten 
divisions. This one odd figure appears in 
Fig. 69. The crossing threads, both be- 
tween and on clusters, are bound securely 



at centre by the last filling thread placed. 
For the figures of four divisions each weave toward each edge on six clusters and one crossing 
thread from either side. The side sections are then woven over the central thread and the three ad- 
joining crossing threads from each side. The outer spokes are gradually left out of the weaving in 
each section. For the figures comprised of six divisions each weave two side sections on the central 
thread and the two threads adjoining on either side. Each of the other sections are woven on three 
clusters and the two crossing threads adjoining. The figure having ten divisions has two sections 
toward each edge on three clusters each, and three on each side on three crossing threads each. The 

English wheels between 
groups of seven are w^oven 
the same as those in the cor- 
ners of narrow borders. A 
fancifully designed wheel fills 
the corners of this border 
(see Fig. 69). Connect the 
spokes at centre and weave 
round a few times, then on 
every four spokes for a short 
distance. Drop left-hand 
spoke and weave over the 
three remaining and one 
from the ne.xt section, .\gain 
drop left-hand spoke after 
weaving an equal distance, 
and take up one from next 
section, and so on until edge 
of open space is reached. 
In working the remaining 
sections leave out the left- 
hand spoke each time, and 
take up the one dropped 
FiG. 68. Detail of Luncheon Cloth, Fk;. 66. Full Size from the previous row. 

40 




In the remaining border, Fig. 68, a thread is carried across the corner space and knotted to the 
group of seven clusters at centre. Every seven chisters are bound several times and knotted thus, but 
without carrying the thread through the centre in the usual manner. To avoid cutting the thread 
each time in this part of the work it may be carried under one cluster to the edge and then down to the 
centre again in the next group. Four threads from each side are carried back and forth between groups, 
being knotted together to form small diamonds. They are also knotted to each cluster in passing. The 
corner device used in the open squares of this border requires additional spokes from corner to cor- 
ner. The spokes are then all united at centre, and four divisions woven toward the sides, each over 
nine spokes, the outer ones being left off gradually until three only remain. Between these sections 
begin weaving corner divisions on the free spoke not used in the previously woven sections and the 
one at either side formerly dropped from the other sections. Continue taking up the dropped spokes 
at regular intervals, one at either side, until all arc included, and finish off on five, and then three 
spokes. 

Either one of the beautiful designs in this cloth is well suited for other forms of needlework, the 
narrow ones being esjjecially adaptetl t^Q, collars, cuffs, aprons, sheets, pillow-cases, table-cloths, nap- 
kins, towels, and children's clothing. The wider, more elaborate designs will supply a satisfactory 
mode of adorning centrepieces, scarfs, table-runners, and articles of similar usage. They are also fit- 
ted for colored work on coarse fabrics for cushions, etc. The figures which go to make up the woven 
work may be utilized in other designs, as well, and are practical from the standpoint of utility as well 

as handsome in effect. 

Figure 67, page 40, shows a beau- 
tiful pattern for a border, with an un- 
usual and effective corner, both being 
adaptable to many uses, and providing 
a handsome substitute for either of 
the borders shown at Figs. 68 and 69. 




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Fig. 69. Detail of Luncheon Cloth, Fig. 66. Full Size 

41 



Lesson for Waist Pattern, Figs. 70, 71, 72 

THIS waist pattern, direct from Porto Rico, the home of some wonderfully exquisite drawn- 
work, is sufficiently novel, and of such charming design, that few, indeed, are the number of 
drawn-thread workers who would not be glad to duplicate it, or to use the design itself in 
other forms, at least. This waist of sheer linen, with groups of hand-run tucks through the plain por- 
tion to give the needful fulness, is as dainty an achievement of needlework as one could reasonably 
desire, and one which would bring an almost fabulous price at some of the exclusive needlecraft 
shops. Yet it is easily within the possibilities of the average drawn-worker. 

The width of the collar and cuff pattern, and of the portions which run across the front and back 
widths, is two and three-fourths inches. The sections running up to the shoulder seams 
in front are two and one-eighth inches wide, and those in back, two and three-fourths inches 
wide. All the edges are hemstitched, and from four to six threads are drawn and skipped alternately 
throughout the border, both vertically and horizontally, owing to the quality of the linen. Whatever 
the grade may be, threads should not be drawn to make the little openings more than one fourth of an 
inch square. The row of linen threads which adjoin the hemstitching is worked over in cross-stitch, 
dividing the linen threads into clusters corresponding to those formed by the hemstitching. The 
background threads are then wrapped twice between the linen blocks with fine, strong thread, which 
passes under each linen block in turn, this binding progressing both lengthwise and crosswise of the 
bands. (See illustration on page 6, Fig. 12.) This illustration also shows the small twisted crosses 
which go to make up the design, and which are made by looping the thread from side to side of the 
squares in succession, throwing the thread under the needle point each time to cause it to twist. 



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Fig. 70. Front of Waist in Porto Rican Drawn Work. See Figs. 71, 72 

42 



Fig. 71. Pattkkn fdr Collar and Cuffs of Waist. Fius. 70, 72 






From the illustration of this waist trimming it is easy to distinguish the number of crosses neces- 
sary for each row. In the front, Fig. 70, aside from the rose corners, trefoils of crosses are used. 
The back. Fig. 72, has rose corners only, while the collar and cuffs are formed of a rose band. 

This collar and cuff design is equally appropriate for other usages, such as towel or scarf borders, 
for finishing tray or lunch cloths or square centrepieces, for buffet-covers, table-runners, bed-spreads, and 
the like, as well as for skirt panels and trimmings for washable Princesse dresses. Indeed, it need not 
be confined to washable goods, since it is possible to withdraw threads from numerous woolen fabrics, 
and with silk floss for the needlework the loveliest possible decorative bands are formed. Rich color- 
ings and gold and silver threads may be introduced in such garnitures and are highly effective. 

Patterns such as this rose band of Porto Rican work are peculiarly adapted for use in various 
other forms of fancy-work; as filet Guipure, cross-stitch embroidery, crochet and bead work. For the 
cross-stitch embroidery each of the twisted crosses of the Porto Rican work must be converted into 
the embroidered cross on the basket weave or canvas back- 
ground, while in bead-work each represents a bead. Every 
crochet worker will understand how readily designs of this 
kind can be wrought by using solid and open stitch work, while 
in the filet Guipure or darned net the pattern is woven back 
and forth, under and over the net's meshes, to conform to the design, 
just as one weaves under and over the spokes of woven devices in 
drawn-work. This rule holds good whether the net is of the ex- 
pensive hand-made variety, or of the machine work so universally 
used. The thread for this weaving should be a softly twisted cotton. 
The finer this cotton the greater will be the number of rows of weav- 
ing necessary to fill the 
meshes. The colored effects 
and touches of gold and 
silver are also applicable to 
this darning and produce 
charming trimmings. 

The rows of little tre- 
foils arranged between the 
rose sprays provide oppor- 
tunities for shortening or 
lengthening the bands in 
the front section without 
changing the rose sprays 
themselves. Fiu 



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Half of Back of Waist, See Fics. 



43 



Lesson for Centrepiece, Figs. 73, 74, 75 

THIS finished centrepiece is one-half yard square, an inch extra being utiHzed for hem. For outer 
border, Fig, 75, draw threads for one and one-half inches. Baste hem up to drawn space. But- 
tonhole raw edges at corners, and hemstitch border into sixteen parallel clusters to the inch, in- 
cluding hem in this process. Start first thread midway between two outer corners of corner square. Carry 
straight across to hemstitched threads and unite eight of these clusters. Pass thread along wrong side on 
four farthest from starting point and unite these with next four half way toward outer edge. Carry 
down to centre again on last half and unite with four adjoining clusters. Proceed thus across border, 
wrapping threads several times to insure strength. Unite clusters midway between centre and op- 
posite edge in same manner, making a row of diamonds of heavy clusters through centre. 

Three threads at intervals on cither side cross central thread in open square and are knotted 




Fig. 73. CENTRtriECE in ]Me.\ic.\n Dr.wvn Work. See Figs. 74, 75 

44 









Ficj. 74. Detail ok Fig. 73. Full Size 



about four nearest clusters. 
They are then carried diagon- 
ally toward either edge across 
space between groups, knot- 
ting every pair of clusters in 
group of eight. Now carry 
threads diagonally and knot 
about heavy cluster, then 
across central diamond, knot- 
ting to opposite heavy cluster, 
and on to separate the group 
of eight on opposite edge into 
pairs. This process is fol- 
lowed throughout by the three 
threads of both sides, and is 
clearly shown in Fig. 75. 

Three other threads start between outer corners of open square and threads already placed, run- 
ning diagonally across same, and uniting clusters into pairs, thence diagonally across heavy clusters, 
knotting same, and on to next group of eight where pairs are again formed. This makes twelve of 
these serpentine-like threads, and as the last one is being placed it is used to weave the others into 
small wheels at each crossing. (See detail. Fig. 75.) Place extra threads cornerwise in open square. 
Unite and weave solid centre. Divide spokes into fourths and weave each section separately, keep- 
ing outer edges straight to within short distance of each border, but dropping one spoke in each 
side of centre at short intervals until two only remain. 

A third of an inch from this outer border is another one and one-fourth inches broad, hemstitched 
like former (see Fig. 74). A central thread unites clusters into groups of six of seven. Four threads at 
either side of central thread cross each other in corner square, and are knotted about each cluster in alter- 
nate groups, crossing diagonally over groups between as foundation for woven figures. For these figures 
the threads are knotted at centre securely, and a section woven on the clusters toward either edge. On 
either side of central section, toward the inner edge, a graduated device is woven on the four diago- 
nal threads. Similar, but somewhat larger sections run toward outer edge also, but include thread 
running through centre of 
border as well as four di- 
agonal ones. For corner 
device weave a solid cen- 
tre on spokes already 
placed with additional 
ones from corner to cor- 
ner, finishing with a knot- 
ted circle separating the 
spokes into alternate 
groups of four and six, 
the latter forming corners. 
Repeat this circle J4 inch 
beyond and knot another 
to individual spokes an 
equal distance beyond the 
second. Complete by 
weaving elongated sections 
on each group of spokes. 




S*-^'^:^'-^-^- 



Fit,. 75. Detail of Fig. y;}. Full Size 



45 



Lesson for Centrepiece, Figs. ^6^ 77, 78 

HANDSOME and varied is the work in thii i8-inch square, with its ij'2-inch hem, finished 
with a quarter inch space of serpentine hemstitching. Quarter inch linen strips edge the ij^- 
inch wheel border. Fig. "jj, which is hemstitched into sixteen parallel clusters to the inch. A 
central thread unites every twelve clusters, coiling about them several times for durability. Three threads 
on each side of central thread are carried back and forth across border, zigzag fashion, crossing each 
other at centre of every other group for wheel foundation. The clusters in the alternate groups are 
divided as follows: Threads nearest centre separate clusters into two parts; adjoining threads into 
three, and outer threads into pairs at either side and three in centre, with clusters between. 

For wheels, knot a circle an eighth of an inch from centre to each crossing thread and to four 
divisions of the group on either side. A second circle a short distance beyond forms six clusters 



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Fig. 76. Centrepiece in INIexican Drawn Work. See Figs. 77, 78 

46 




Fig. "jt. Detail of Fig. 76. Full Size 



of grouped threads on either side, and 
also knots single crossing threads. Outer 
circle knots crossing threads singly and 
seven clusters in serpentine form. From 
this circle to each outgoing spoke a scallop 
is woven. 

Besides the seven crossing threads of 
border diagonal threads from corner to cor- 
ner are used in open squares for corner de- 
vices. Spokes are united and woven solid 
at centre. Eight spokes toward either side 
form the nucleus for the four divisions of 
design. These are in turn divided into two 
parts, four spokes each, and woven out for 
a fourth of an inch. The inner spokes of 
each pair are then omitted and the weaving 
proceeds over three and then two. Seven blocks, two spokes for each, complete each division. 

The Oriental border. Fig. 78, is made by weaving over pairs of clusters to form pyramids, alter- 
nating from either side of border, three bars next to edge, then two, leaving each outer cluster 
free, and then one over two central clusters. Across corner spaces threads are carried, making 
twenty-four spokes in all, united and woven solid at centre. The weaving then proceeds toward each 
corner, first over si.x spokes, then four, then two. Between adjoining sections blocks are woven over 
two threads, one from each. 

From this border a row of narrow buttonholing is worked, purled edge toward centre. Midway 
on either side a J4-'nch square of linen is marked, and in each corner section the threads 
are drawn to form open squares of uniform size; with eight threads of linen left between, first one 
square deep, then two, and then three from either side. These are also buttonholed. Threads are now 
crossed diagonally from corners of each square in both directions ; also vertically and horizontally 
across centre of squares. Two other threads on each side between centre thread and corners cross 
each other diagonally 
in every square to pro- 
vide sufficient spokes 
for woven figures. 
Wherever these 
threads cross linen 
threads between 
squares they are knot- 
ted into two clusters. 

The filling devices 
used each requires a 
central union of the 
spokes, from which 
point the fans, daisies, 
windmills, crosses and 
butterflies are arranged 
in diagonal rows. The 
number of spokes re- 
quired for each division 
appears clearly in the 
full sized detail. Fig. 78. 



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Fig. 



Det.^il of Fig. 76. Full Size 



47 



Lesson for Chinese Tray Cloth, Figs. 79, 80 

THE detail of this Chinese linen tray-clotli shows sufficiently clear for the average worker. 
Notice that herring-boning separates bands, two central and two serpentine threads being used 
in narrow strips, the second thread weaving rosettes between clusters. One central and six 
serpentine threads are placed in wide band, the latter crossing over every third cluster, thus com- 
pleting necessary spokes for fans and wheels which alternate with the woven bows appearing between 
clusters. Diagonal spokes are added to provide enough spokes for the cross-shaped corner devices. 




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I'^io. 79. Chinese Trav Cloth. See I~I(.. So 




Fjg. 80. Detail of Chinese Tray Cloth, Fig. 79. Full Size 

48 






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